SN: Much hotter in Italy! And the sun seems more powerful. But somehow in Italy I don’t mind it. Maybe it’s the gelato and siesta that make it seem more civilized. If it gets that hot in Seattle it seems unbearable. Even with ice cream.

MJ: Ah gelato and siesta! Where all did you get to go in Italy? You were based in Rome for the writing program, correct?

SN: Yes, Rome was the home base for the program (a creative writing intensive), with classrooms at University of Washington’s Rome Center. But we did some field trips outside of the city as a group, and also independently during a midpoint break. With the group I got to return to Il Parco dei Mostri (Park of Monsters, the late Renaissance garden of Bomarzo) in the Lazio region. And with my poet friends co-leading the program, Rebecca Hoogs and Johnny Horton, we visited Niki de Saint Phalle’s Tarot Garden in Tuscany during our break. (Which I had never been to before.)

MJ: This all sounds lovely! I’m fascinated by everything Italian (my Italian-American mom is the first generation in her family to be born in America). What was the Tarot Garden like?

SN: The tarot garden was interesting — like being able to walk around inside someone’s dream inspired by the major arcana. Niki de Saint Phalle was a French artist but she befriended some Italians who gave her the land to build her giant tarot-inspired sculptures and buildings. She began the project in the late 1970’s and built for decades. Her career began to take off in the 1960’s and I think you can feel that aesthetic in the work, especially in the colors. And the 1970’s too, with so many mirrors!

Niki de Saint Phalle’s Tarot Garden – The Sun and The Hierophant in the forefront, photo by Sierra Nelson

MJ: Ooo, the mirrors make me think of the Tyldwick Tarot. Do you bring a deck with you when you travel? Did you do any tarot readings in the Tarot Garden or other places in Italy?

SN: I do often travel with a deck, in case. Some trips I use them more than others. I actually didn’t do any readings at the tarot garden — it felt more like I was receiving a reading just by walking around the grounds. I loved how being there emphasized the journey and encounter aspects of the tarot. Exploring the grounds, you would suddenly come upon a strange building or large-scale figure and think, “Oh hello! Who is this? What are you trying to tell me?” It puts you in the role of the fool. (Maybe that’s why it felt joyful, even as some of her imagery was intense, and reading more about her and her life afterwards added to that sense of intensity.)

I did a few readings on this trip with the deck I had brought, but as a class we also made a deck together, divvying up all 78 cards as blank pages, and writing our own text (with optional drawings) while exploring the Parco dei Mostri and other field trip sites.

Then the group could ask questions of our collective set of cards / little poems throughout the program. It was fun.

MJ: How cool! I very much like the communal oracle as creative project! Which deck did you bring?

SN: This year I brought two decks — the Hanson Roberts deck (which I’ve had for quite awhile and am fond of) and the Wild Unknown, which I am just getting to know. When you travel do you bring a particular deck? And when you teach tarot poetry workshops, what are some of your favorite ways to approach the tarot-poetry hybrid space?

MJ: When traveling, I generally bring the Wizards Tarot and a second deck. I’ve been sending Tarot letters with single cards from the Wizards to my family and friends, and they like it when I come and read with the whole deck in person.

SN: What happens in a tarot letter? Do you send the actual card in the mail?

Judgement cards, photo by Marjorie Jensen

MJ: Yes! I originally had two copies of the Wizards deck, and one copy I split up and have been mailing with handwritten one-card readings. I taught this epistolary technique in one of my tarot writing workshops. But I think the best activity I’ve come up with is bringing in a bunch of decks and having students compare different versions of the same card to inspire their own poetic version of the card.

SN: Woa! That’s exciting, to receive the physical card itself in the mail. So eventually the split up deck depletes? The pack unfolds its story throughout time and the people you write to, until it’s all told?

MJ: Yes!

SN: It is fun to compare versions of a card. It feels like etymology — each word carrying its typical usage, and historical threads, and sometimes new spins as well, reclaiming.

MJ: I feel like it puts the writer in the role of tarot artist — connects the visuals with language. And language springs from the visual — so etymological too!

SN: Which connects to my (admittedly biased) opinion that poets give the best tarot readings. Maybe because of the emphasis on image, rather than just interpretation. Poets create a little world from the symbols so that you can feel the details, and connect them to your own question or difficulty.

MJ: I agree! The best tarot readings are poetic.

SN: Yes! The poetic reading — the unfolding of the images is also part of it. I’m not saying I give the best tarot readings — but I’ve enjoyed more deeply readings from tarot readers I know who are also working poets.

MJ: There’s a lot of overlap! I’m interested in how some of the Arcana contributors primarily identify as tarot readers and how others are primarily working poets. Do you consider yourself primarily a writer or tarot reader?

Sierra Nelson, photo by Rebecca Hoogs

SN: I definitely identify as a writer more than a tarot reader.

MJ: When did you start identifying as a writer and when did you start studying tarot?

SN: I started writing poetry when I was about 7 and have always loved language. I studied literature as an undergrad with a creative writing emphasis, though it was probably not until after college that I thought of myself as a writer. For tarot, my aunt does readings for people and it’s always been something I’ve been curious about, but I think it wasn’t until college that I found a deck that I really took to and started to find it easier to do readings for myself and others. But I don’t know if I would identify myself as a tarot reader in the same way.

What about you — how did writing and tarot come into your life? When did they feel like they were more a part of you?

MJ: I like that tarot came to you through your aunt! It seems to often be a female tradition and one of the few fields dominated by women. My mom and (paternal) grandmother both read cards. Mom read tarot; grandma read playing cards. But my grandmother gave it up quickly after accurately predicting someone’s death (my mom kept it up somewhat after accurately predicting a death).

I’ve been writing little poems and things for as long as I can remember. Mom gave me my first tarot deck at 14. I think I really started to identify as a writer when I switched my major in college from dance to English (creative writing). This is kind of funny now, because I’m teaching choreographed ballroom dance instead of creative writing at the moment.

SN: There’s a lot of connection between dance and poetry too. Have you considered choreographing a series of tarot dances? That could be exciting!

MJ: I actually wrote an experimental piece using dance choreography that will be published this month! It’s coming out in the lit journal run by another Arcana contributor, Shloka.

I don’t want to take up too much of your time! But I would like to hear a little more about how you created one of the poems that’s in Arcana — “The Fours” — in the Italian Park of Monsters. Was this experience like the Tarot Garden in that the statues were your oracle?

SN: I’m looking forward to your experimental dance piece!

And yes, the imagery in each of the sections of “The Fours” came from a different statue or area in the Bomarzo Park of Monsters. Keeping in mind each of the suits’ elements, I walked around the grounds until I found a statue that intrigued me and seemed somehow right. I then wrote about it, describing what I saw and considering the suit I was connecting it to, and from there I whittled down my notes to just one small moment or image. For example, the Four of Wands was inspired by this exciting sculpture: https://upload.wikimedia.org/wikipedia/commons/9/9b/Bomarzo_parco_mostri_orco.jpg

MJ: Very cool!

SN: I’m not sure if you can see it in the picture but on the upper lip of the giant’s mouth it says in Italian, “AllThoughts Fly.”

Thank you so much! I really appreciate you taking the time to talk with me.

SN: It’s been lovely getting this chance to talk with you too. Thank you for putting together such an inspiring anthology. It’s an honor to be a part of it.

MJ: It’s been such a wonderful experience for me to create the book! I’m going to commemorate it by getting a tattoo of the logo I’ve been using for it (my Twitter avatar, part of this image). Thanks again for being part of the book!

Why do spells and other rituals use rhymes? Rhymes, especially rhyming couplets, feature prominently in existing magical texts and are recommended in books and classes that teach spell-craft. However, many modern poets writing in English avoid rhyme and some literary journals even specifically request that submissions do not include rhyming verse. Despite this disparity, there are pagans and magicians who are successful poets (including contributors to Arcana: the Tarot Poetry Anthology).

Musicality is one reason why magick contains heavy rhymes. Spells and rituals are generally oral performances, and their words can often be sung as well as spoken. Rhyming couplets, which are scarce in the contemporary literary community, are abundant in song lyrics. For instance, “That Old Black Magic”:

Shadowscapes Tarot by Stephanie Pui-Mun Law

That old black magic’s got me in its spell
that old black magic that you weave so well
those icy fingers up and down my spine
the same old witchcraft when your eyes meet mine.

The same old tingle that I feel inside
and when that elevator starts its ride
darling down and down I go
round and round I go
like a leaf that’s caught in the tide.

Here are four rhyming couplets (AABBCCDD) plus an extra rhyme at the end that calls back to an earlier couplet (C). Immediately I notice that “spell” itself is the first word that spawns a rhyme; love’s “black magic” is aurally like rituals that use couplets.

Poetry’s roots are oral—historically, the line between poetry and song was often muddled or absent. Rhyming verse helped with memorization and performance. As I mentioned in a previous blog post, renaissance poet Thomas Campion published his poems with sheet music. Another famous renaissance poet, Edmund Spenser, created the Spenserian stanza with an interlocking rhyme scheme (ABABBCBCC). Here’s a stanza from his long epic, The Faerie Queene:

Ne let it seeme, that credence this exceedes,
For he that made the same, was knowne right well
To have done much more admirable deedes.
It Merlin was, which whylome did excell
All living wightes in might of magicke spell:
Both shield, and sword, and armour all he wrought
For this young Prince, when first to armes he fell;
But when he dyde, the Faerie Queene it brought
To Faerie lond, where yet it may be seene, if sought.

In addition to sharing the spell/well rhyme with “That Old Black Magic,” Spenser draws on Arthurian legend (Arthur is still a “Prince” in the Faerie Queene), which also figures heavily in some rituals tools, like the Tarot. The Ace of Swords and the Ace of Cups share the symbolic language of Arthuriana—Excalibur and the Holy Grail. Thousands of rhymes that describe Arthur’s world are embedded in the visual medium of Tarot, as well as in actual swords and cups that are used in ritual.

Goddess Tarot by Kris Waldherr

The use of rhymes in magick combines the traditions of song and literature. Stories and music illustrate archetypes that can fuel ritual and connect us to timelessness. Modern poetry, on the other hand, often seeks to embody its specific moment and sound conversational rather than ritualistic. It’s also difficult to come up with unique rhymes in English (as opposed to more naturally rhyming languages, like Spanish or Italian).

When crafting poetry/spells with the Tarot, one could consider a single-syllable rhyme written on the cards: Priestess and Empress. How does the rhyme (-ess) draw parallels between these Major Arcana? How do the High Priestess and Empress complement each other? Would they make a couplet (AA) or fit into an alternating rhyme scheme (ABAB)?

In my Tarot Writing Workshops, I encourage students to compare different versions of the same card. For instance:

-Which Fool do you like best?
-Which Fool do you like least?
-What aspects are shared by several Fools?
-Are there elements from different Fools that you would like to combine?
-What Fool stands out from the rest of the group?

You might consider the colors (a lot of yellow in there), symbols (such as the sticks, bags, and various flowers), characters (white dog, cat, bunny, etc, as well as the humans), landscape (cliff or no cliff), and light (moon or sun).

Now, in honor of Fool’s Day and National Poetry Month, I recommend trying to create your own Fool card in the form of a poem. Describe your ideal colors, symbols, character(s), landscape, and light. Is your Fool caught in motion? What feelings or memories does your Fool have?

“Warning: Have noeasy gods.” – Rusty Morrison from History of expression

Joanne M. Clarkson, photo courtesy of the author

“Write from the Muse.” I received this phrase in a dream. Before I fell asleep I had asked the Universe how I could infuse my poetry with more truth and beauty, how my writing could be a genuine gift to self and to the world. And I was answered.

But, as I knew well from years and years of Mediumship, Spirits don’t exactly speak English and replies take some deciphering. Like poetry. Like Tarot spreads. And it is essential to view everything from the Highest Heart and the additional intuitive Eye (I). What did “Write from the Muse” mean?

In my Psychic practice I use both Palmistry and Tarot readings to answer questions and gain insights for querents. I was taught by my mystic grandmother when I was a little girl. I have known for years that writing poetry both informs and grows out of this gift and skill. My grandmother’s artistic blessing was designing and sewing clothes. With each stitch she would gain new perspectives. For me, it is each word, each string of syllables, as though I re-make my own DNA.

So after receiving my phrase, I knew I was my own Querent and I needed my Cards to unravel the message. When making contact with ones who have passed or when communicating with spirits and guides, I use a Question/Answer technique. I have the Seeker formulate 3-5 specific questions about aspects of a topic. Then they select (cut, spread, draw, somehow choose) 1-3 cards in response to each question. Occasionally, if the message needs clarification, we draw an additional 1-3 cards, but this is rare.

Before each reading I say a protection prayer, surrounding myself and the querent with the white-gold light of the Creator’s love and healing protection. We ask that a clear channel be established between us and whomever wishes to speak with us and we affirm that all communication received will be only for the highest good of all concerned.

For my “Write from the Muse” fortune, I used John Holland’s Psychic deck, my go-to deck for personal readings. This deck includes chakra cards. My questions were:

Psychic Deck by John Holland

Is there a god for each poem or One overriding Muse?

How do I discover and become acquainted with my Muse?

Could I have a description of my Muse?

How do I call the Muse when I need her?

How do I thank the Muse?

For the first draw, I chose one card: 1 the Root Chakra. I remind myself over and over that the Tarot is often literal. One Muse.

Second, I spread and selected the 9 of crystals and the 3 of cups. For me this meant that to discover my Muse I must go into my higher Mind, beyond worry or understanding. The 3 of cups for me is a ‘generational’ card, my genetic ancestors and my past lives. The Muse is growing out of my truest most universal self both in this world and beyond.

Psychic Deck by John Holland

Even before I asked the third question for a description from the Cards, an image keep appearing in my left peripheral insight where most of my visions originate. It was the head and withers of a huge dusty golden horse, galloping. I cut a single card: 7 Major, The Chariot, but in this deck it is called Triumph and features a front-on view of someone riding a bronze-colored horse with only the head and neck visible! This is the only card in the deck that features a horse. It means the power of the soul – in conjunction with guides as spiritual support – to achieve any goal.

The two cards of the fourth choice were not a surprise to me. I received the 9 of cups, the Wish card, and the Ace of crystals. I need to simply Ask for the Muse in a focused way.

When I queried about thanking the Muse and spread the cards, four became so obvious that I turned them all over. I got one card from each suit. They urged me to choose wisely, partner with like-minded souls, be confident of a positive outcome – yet to be aware that any endeavor is not without heartache. And sometimes this is the greatest gift. I am indeed grateful for whatever I receive.

Joanne reading Tarot at the Arcana release party

Out of this reading and based especially on the 5th response, I have evolved a regular practice that has been easy for me and very helpful when writing. After calling my Golden Horse Muse, I divide the deck (I keep one deck divided to save time) into 5 piles: each suit and the Major Arcana. I draw one card to describe: the world, the mind, the heart, the spirit and a theme or lesson. And I write from one or all of these, using whatever jumps out at me: image, detail, color, number, message, ancient meaning.

I cannot even express what a blessing uniting with my Muse continues to be for me. I feel that, since my dream, my writing has taken on new depth and meaning and I am now making progress on a project I have been thinking about for years. Please feel confident about finding your perfect personal Muse who is eager to be revealed!

At TarotCon Denver in June 2015, James Wanless called tarot the gps of the soul. And what is poetry — or intuition, which connects with tarot for many who encounter it — but an act of mobilizing the soul?

We may not consider gps as a tool of locating where we are, but rather, we use it to understand where we are going. Tarot and poetry give us both these perspectives.

Tabitha Dial, photo courtesy of the author

Tarot helps us see our patterns and seek the future. Tarot returns us to times past, with card images that recur in readings or that bring to mind dreams, stories, or other diversions, or that spark memories of that woman who looks like the Queen of Swords.

Poetry makes us pause and reflect. Within the first few words of a poem, we may be able to recite the rest. As we read or listen to a poem, we might smell our grandfather’s cigar smoke, as if he were sharing the words again himself, though he has long passed.

Like gps, tarot and poetry comes from everywhere and can point you anywhere. Especially when we do the hard work of creating our own poems, our own futures.

While thousands of decks are available, some with modern twists, and trends, and other more traditional, the archetypes in each deck of 78 tarot cards glow with a universal light. Like poetry, they may be treated playfully or with reverence and seriousness.

Psychology, Archetype, and Tarot

Tarot is a worthy tool for creatives and psychologists. With their rich language of art, symbols, and associations, tarot cards are ripe for both Jungian psychological work and the art of composing poetry.

Carl Jung is noted for his groundbreaking work in depth psychology. He spearheaded active imagination (examining and exploring one’s inner landscape) and the exploration of archetypal figures and images. He called tarot “an intuitive method that has the purpose of understanding the flow of life” in a seminar on March 1, 1933.

Celtic Cross sketch by Tabitha Dial

A prominent, classic layout for tarot cards is the Celtic Cross. A number of readers use their own variations, but within this layout of ten cards are typically positions to depict what might block you and your situation, forces that may be subconsciously working against you, how you view yourself, and how others view you.

In Holistic Tarot, Benebell Wen wrote “The Celtic Cross spread is to tarot what Beethoven’s Minuet in G is to learning violin … or the sonnet to poetry.” It was used by the Hermetic Order of the Golden Dawn before being published by one of its members, Arthur Edward Waite, in 1910.

Over a century later, the Celtic Cross helps beginning tarot enthusiasts learn how to use its archetypes. Example: The Hermit represents what blocks you and your situation. The Fool subconsciously works against you. The Sun is how you view yourself. The King of Swords represents how others view you.

In name alone, the answers within each archetype have considerable transparency.

The Hermit is a desire or need to be alone, to possibly gather wisdom. The Fool is about a subconscious lack of responsibility or awareness. The Sun indicates that you seem to feel you’re radiant and life-giving. But that perception of yourself doesn’t harmonize with how others see you: The King of Swords can be cold, serious, and distant.

Be Free! How to Write Poems from Tarot

A few things first:

1) Poems and card readings allow for entertainment as well as personal expansion. Write for fun.

2) The design of the tarot deck — or the format of the poem — is purely up to you, the seeker. Both represent personal tools. My personal preference for this work is a deck rich with images, rather than one, like the Thoth deck, which features pip cards that don’t depict detailed situations.

3) Writing tarot poetry allows you to become more intimate with cards you have a relationship with, whether clear or complex. Pick any card that draws you in. Or puzzles you.

4) You may choose to select a card at random or you may walk yourself through the images of the deck until you find a card that interests, irritates, or alarms you. Where there’s a strong reaction, there’s plenty to work with.

To begin writing:

Some of the best advice on how to approach the creative writing process is in Mary Greer’s Tarot for Your Self: Revelations aren’t immediate. Expect more and more understanding about your growth and insights as you return to your writing, and don’t be concerned with what you put down, she wrote. It doesn’t matter if it seems “simplistic or silly … its significance may only be apparent later.”

Don’t censor or criticize yourself as you write. Who’s going to judge you? With a therapist, you are invited to speak freely. Do the same with tarot poetry therapy. As a poet, you can make it all up! Test those waters, too.

More sound advice from Greer: “If you get stuck, write the last word over and over again until a new thought presents itself — and it will.”

Three Ideas for Writing Tarot Poetry

Ideas for writing from the card illustrations include:

1) Record one or all of the five senses the card’s archetype may experience.

2) Voice thoughts from the figure in the card.

3) List the items you see in the card.

Examples of all three, using The High Priestess from the Rider-Waite-Smith tarot:

Photo by Tabitha Dial

Sense of the High Priestess

My feet should be cold against this floor,
but I am wearing my favorite boots:
fox fur-lined, deer skin, hidden
for their price, their luxury.

Tonight, one sole against the crescent moon.

Thoughts from the High Priestess

I’d rather read
this old scroll
alone, curled up with the cat,
and leave this heavy headdress at the temple.

But this job keeps me
off the streets,
and the pomegranates
are ripe, and free, and plenty.

The High Priestess: List

First, the thrift shop find: a tapestry from a tropical getaway
Second, and unavoidable: the holy woman in blue and white, holding a scroll
Third, a triple goddess headdress hiding a bad hair day
Fourth, a yellow crescent moon (or very big pecan crescent cookie)
Fifth, a well-behaved pool of water
Sixth, unfinished algebra: B + J
Seventh, two columns, one of each end of the color spectrum

Let your humor, and your own life experience, come through. Please remember that modern poetry does not usually rhyme. Don’t worry about rhyme. It often leads to forced writing. As Greer suggests, use “short word pictures”.

Bring More Cards to the Party

You may also enjoy writing from more than one card at once. Consider choosing a predetermined number of cards, with each card inspiring one line of poetry. The tarot cards can be drawn with intention or taken out of the deck randomly.

You could grab a few cards, and write one line each based on how they spark your imagination. Then you may repeat the pattern with the same cards as many times as you like.

The Magician, the Therapist, and the Poet

Poetry is a magician’s art. It’s part creation and part escapism. Letting your creativity run away with tarot archetypes can stir up feelings or ideas that are unexpected or have been buried.

Consider using tarot poetry as therapy. Use it to wrestle surprising feelings or ideas, or situations you are already aware of. Any old struggle can be interpreted — and unraveled — by tarot and poetry.

Photo by Tabitha Dial

If you are struggling to find strength in a situation involving work or family life, you may want to select cards that represent this to you: Possibly Strength, Justice, the Devil, and a King, Queen, Knight, or Page or two.

Work with those images and write everything that comes to you.

It’s not expected that your writing flow like a polished poet’s from the get-go. Established wordsmiths revise their work multiple times before it is ready for publication!

Edit later into lines that appeal to you. Cast your words, and your magic spell will be heard.

Editor’s note: Happy New Year! You can expect a variety of blog posts in 2016, including essays from Arcana: the Tarot Poetry Anthology contributors, a new letter series, and much more. This month, Tanya Joyce generously offered to review the first Bay Area reading for the anthology. Without further ado, I turn the blog over to her.

Tanya Joyce

Review by Tanya Joyce

ARCANA: The Tarot Poetry Anthology, edited by Marjorie Jensen, was the focus of a recent gathering at Oakland’s Liminal writing studio. The event featured selections from the anthology read by Martha Villa, Rose Shannon, and Tanya Joyce. Marjorie Jensen introduced the evening, contributed her own poetry to the mix, and commented on the origins of the anthology.

Marjorie’s goal was an international volume of contributions with diverse perspectives. I was surprised to learn that the one volume Marjorie found similar to what she planned was Tarot Haiku, a book I edited with contributions from San Francisco’s Thursday Night Tarot discussion group. New ground is being broken here!

Martha Villa

As the evening at Liminal unfolded, Rose Shannon’s powerful warmth came through her poems from ARCANA. Martha Villa had an especially noteworthy sense of focus, evident in both her poetry and the intent way she listened to others.

Marjorie designed the evening to include both poetry reading and an opportunity for tarot card reading. The potential for involving everyone in this way encouraged free form conversation. The varied ambiance extended to refreshments, two Liminal cats, and one visiting baby. I mention all this as an example of an effect tarot images have in bringing people together. Jason Lotterhand, who founded The Thursday Night Tarot in 1950, liked to say that tarot works by encouraging people to check their egos at the door.

“You don’t have to think about it,” Jason would say. “And don’t worry, you get your ego back when you go home.” A tarot-oriented event in progress tends to produce intensified focus. At The Thursday Night Tarot, cats have been known to touch enlarged tarot images with their paws and noses. The cats at Liminal sauntered and sprinted as Marjorie spoke. One was caught on camera! Later, the cats entertained the humans by cavorting at the edge of a loft area.

Liminal cat and Marjorie

Tarot enthusiasts may have been put in mind of the cat at the feet of the Queen of Wands in the widely known Smith-Waite tarot deck or the powerful lion being encouraged to roar in the Case-Parke deck Strength card from Builders of the Adytum.

Babies (rare but memorable members of tarot groups) were represented at the ARCANA evening by a little one looking outward with the openness of children in the tarot Sun card. Interestingly, in the way tarot images have of evoking thought, the Queen of Wands and the Sun cards both show sunflowers, reminding us of lions as cultural emblems of heat and fire and encouraging our minds to further evocative explorations.

Rose Shannon

The reading at Liminal may be the start of reaching out through the arts to create an expanded tarot consciousness. Meditative images from all traditions empower people to see experience from varied standpoints. Multiple vistas carry differing charges. What is this way one day may appear that way tomorrow. It is not a case of “true and false” or “correct and incorrect.” When 78 cards cover all the possibilities, each one must contain many facets.

The diversity of poetry in ARCANA presents exactly this kind of varied direction. Combined with contributors’ biographies in the volume, the book itself is a journey in the realm of what we experience additional to our five senses.

The evening at Liminal brought tarot into an ambiance of dynamic interaction between audience and presenters, between listening to tarot poetry and perceiving a mix of card reading and poetry reading. We look forward to more events from Marjorie Jensen and ARCANA contributors.

***

Even if you couldn’t make it to the event, you can still hear some contributors read their poems from the book in the Listening Corner.

Over on the Tarot Poetry Twitter account, I’ve occasionally posted links to websites that feature classic poems about the Arcana. Here is a collection of those links:

In another post, I wrote about Petrarch’s connection to Tarot. You can read his Trionfi, or Triumphs, here.

There are a couple English translations of Teofilo Folengo’s tarocchi appropriati scattered around the web: one is on Tarotpedia and another is on Folengo.com. The latter is the full text of the Chaos del Triperuno—Tarot sonnets begin on page 139 of the PDF.

The co-creator of the most famous Tarot deck, and one of Yeats’ contemporaries, wrote a number of poems and edited an anthology of fairy poetry. A. E. Waite’s poetry can be read on the Hathi Trust Digital Library.

“The Waste Land” by T. S. Eliot is one of the most famous poems that references the Tarot. An interesting hyperlinked version can be found here.